Abstract:

This article examines rhythm in the choreographies of Dairakudakan's Muramatsu Takuya using concepts from Henri Lefebvre's rhythmanalysis as a framework. Works analyzed include Dobu (Ditch, 2007), Sonna Tokikoso Warattero (To Laugh at Such a Time, 2008), Ana (Hole, 2009), and Wasureru, Omoidase (Forget, Remember, 2013). The article discusses how rhythm informs overriding themes, performer training, scenographic design, scene transitions, and contrasts between solo and group performance in each piece. Key concepts from Lefebvre's theory used to interpret Muramatsu's work include polyrhythmia, eurhythmia/arrhythmia, dressage, and secret rhythms. In comparing multiple performances, rhythmic similarities emerge in Muramatsu's oeuvre, such as a common rhythmic arc shaping each piece and similar choreographic strategies employed in order to maximize dramatic effects for an audience, often defined through their use of contrast.

摘要：

本文以Henri Lefebvre的节奏分析为框架，研究了Dairakudakan的Muramatsu Takuy​​a编舞中的节奏。分析的作品包括Dobu（Ditch，2007年），Sonna Tokikoso Warattero（在2008年如此大笑），Ana（Hole，2009年）和Wasureru，Omoidase（忘记，记得，2013年）。这篇文章讨论了节奏如何指导最重要的主题，表演者训练，场景设计，场景过渡以及每件作品中独奏和小组演奏之间的对比。Lefebvre理论用来解释村松的工作的关键概念包括心律不齐，心律失常/心律不齐，盛装舞步和秘密节律。在比较多种表演时，村松的作品中出现了节奏上的相似之处，例如，每首作品都采用了通用的节奏弧形，并采用了相似的编舞策略来最大化观众的戏剧性，这通常是通过对比来定义的。